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Tchaikovsky stipulated that a staging of Eugene Onegin need not be lavish but should be kept in period. He would have been satisfied with the results here.

Simon Mayo’s Young Adult novels are turned into an operatic romp which explores the fascination of the elements with excellent music and setting, albeit riddled with plot lacunae.

A wry and topical new version of The Beggar’s Opera from Robert Carsen and Ian Burton from Théâtre des Bouffes du Nord is energetic, fun and amusing. Les Arts Florissants provide colourful Baroque accompaniment.

Il ritorno d'Ulisse in patria, the second opera of the Monteverdi 450 trilogy being toured by Sir John Eliot Gardiner, had a strong performance in Salzburg.

After a sparkling Act I, energy fades slightly on a sweltering night in London, but Opera Holland Park's Die Fledermaus has a lot going for it.

Annemarie Kremer is a strong-willed, dramatically voiced Butterfly in Laurence Dale’s sensitive production.

Martin Lloyd-Evan's highly sensitive production features a show-stealing performance by Richard Burkhard but is marred by problems of orchestral balance.

Alice's story in a sparkling outdoor production for families, which will not disappoint mainstream opera enthusiasts.

Dale Duesing triumphs with a staged version of J.S. Bach's St John Passion performed by the Nationale Reisopera.

Pietro Mascagni was catapulted to enduring fame in 1889 when his Cavalleria Rusticana won a competition. But the problem with all Italian opera composers at the end of the 19th century was simple: if you weren't Puccini, it was more or less impossible to avoid his shadow.

Robert Carsen et William Christie redonnent une modernité et un lustre incroyables au Beggar’s Opera de Johann Christoph Pepusch et John Gay.

Le duo Christie / Carsen offre une nouvelle lecture résolument moderne du ballad opera de John Gay. 

Was lange währt, wird ziemlich gut: Sir John Eliot Gardiner und seine Montverdis überzeugen mit dem Premieren-Ulisse in Berlin.